PipeChat Digest #2775 - Monday, March 25, 2002
 
Re: hymns and the clergy
  by <MyrtleBeachMusic@aol.com>
Re: hymns and the clergy
  by <MyrtleBeachMusic@aol.com>
Re: hymns and the clergy
  by "Alan Freed" <afreed3036@yahoo.com>
Re: hymns and the clergy
  by <Chicaleee@aol.com>
Re: Two Compton Organs
  by "Bruce  Miles" <bruce@gbmuk.fsnet.co.uk>
Re: Two Compton Organs
  by "stan" <harfo32@hotmail.com>
Re: REMOVE
  by "stan" <harfo32@hotmail.com>
 

(back) Subject: Re: hymns and the clergy From: <MyrtleBeachMusic@aol.com> Date: Sun, 24 Mar 2002 23:43:39 EST     --part1_107.f1d1431.29d004fb_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 3/24/02 8:54:20 PM Eastern Standard Time, bridgewatermusic@hotmail.com writes:     > This is a > long standing issue with him as I dont have much input into the hymns = and I > > typically get them on Wednesday! > > Anyway, any thoughts on how to deal with this. I plan to stand firm but =   > the > anger and frustration are getting in the way of my usual professional = and > well thought out responses to this kind of thing. Any help you can give =   > would be much appreciated. > > Thanks much! > > Craig >   Craig,   I really feel for you. Micromanaging ministers are the worst. At my = former church (Presbyterian) in Pennsylvania, I had done all of the hymn = selection from the day I was hired. The minister who had been choosing them prior = to my arrival said to me when I asked who picked the hymns, "We hired you to = be the professional musician, not a musical advisor to me. Go for it". Ever =   after that, all was great and we had some great hymn singing (new and old).......until he retired. When the new guy came, he never even asked = me if I did it or anything, he just started doing it. So I mentioned to him casually on his first week there that I had been doing it for 4 years and would prefer to keep doing it so I could better coordinate the service = music in general (handbell hymn descants etc.). He just said, "nah, I'd rather = do it." He would never hand them in to the secretary until Thursday (often Friday) leaving NO time to coordinate ANY kind of embellishment for them.   He would pick the same hymns constantly it seemed. The best times were = when he picked something nobody knew except himself. You'd think he'd take the =   hint at that point, but nooooooo. At any rate, after a year of this = garbage it all came to a head during VBS week at which I had completely planned = the Friday night closing program. I had everything handed in to the sec. on Tuesday. Come Friday morning during the last VBS session, the sec. tells = me he just handed in the music for that night. I told her the music wasn't changing...the kids knew what was to be sung and I wasn't going to throw a =   curveball at them on the last day. He didn't like that, even with most rational of reasons. It was also about that time that he started micromanaging EVERYTHING musical in the service to the point of seeing on = the secretary's desk my music submissions for the following Sunday, looking = over them, coming up to my office and asking me to "give him an idea of how = this goes" (a communion anthem the choir was to do). After looking at him with = a blank stare for a while and counting to 10, I sang it for him. He = responded "Ok, that will be alright".   It was all down hill from there. I quit a few months later. The church, which used to have 4 handbell choirs, a 35 member adult choir, and a = fabulous children's choir....now has 5 people show up for choir on a good day, no = bell choirs (they haven't been touched since I left), and no children's choir. =   Word got around quickly after I left what kind of a leader he is, and thus = no other musicians in the area would go out for the job. But damn if he = doesn't get to choose those hymns! ;-)   I'm now at a fabulous church where I AM, once again, the musician and plan =   EVERYTHING musical in the service (Episcopal now) and am never questioned about it. Occasionally, one of the priests will request something = specific to go with his sermon, but those times are few and far between. Most of = the time, my selections already match the sermon anyhow.   I know this doesn't help solve your problem at all, but I thought perhaps = a story of how bad it can be might either give you comfort in what you have, = or help you to realize that you're never going to be able to make your = program flourish with him overseeing everything and not letting the MUSICIAN be = the musician.   Jeremy Rush Church of the Resurrection Myrtle Beach, SC   --part1_107.f1d1431.29d004fb_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">In a message dated 3/24/02 8:54:20 PM Eastern = Standard Time, bridgewatermusic@hotmail.com writes:<BR> <BR> <BR> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">This is a <BR> long standing issue with him as I dont have much input into the hymns and = I <BR> typically get them on Wednesday!<BR> <BR> Anyway, any thoughts on how to deal with this.&nbsp; I plan to stand firm = but the <BR> anger and frustration are getting in the way of my usual professional and = <BR> well thought out responses to this kind of thing.&nbsp; Any help you can = give <BR> would be much appreciated.<BR> <BR> Thanks much!<BR> <BR> Craig<BR> </BLOCKQUOTE><BR> <BR> Craig,<BR> <BR> I really feel for you.&nbsp; Micromanaging ministers are the worst.&nbsp; = At my former church (Presbyterian) in Pennsylvania, I had done all of the = hymn selection from the day I was hired.&nbsp; The minister who had been = choosing them prior to my arrival said to me when I asked who picked the = hymns, "We hired you to be the professional musician, not a musical = advisor to me.&nbsp; Go for it".&nbsp; Ever after that, all was great and = we had some great hymn singing (new and old).......until he retired.&nbsp; = When the new guy came, he never even asked me if I did it or anything, he = just started doing it.&nbsp; So I mentioned to him casually on his first = week there that I had been doing it for 4 years and would prefer to keep = doing it so I could better coordinate the service music in general = (handbell hymn descants etc.).&nbsp; He just said, "nah, I'd rather do = it."&nbsp; He would never hand them in to the secretary until Thursday = (often Friday) leaving NO time to coordinate ANY kind of emb <BR> He would pick the same hymns constantly it seemed.&nbsp; The best times = were when he picked something nobody knew except himself.&nbsp; You'd = think he'd take the hint at that point, but nooooooo.&nbsp; At any rate, = after a year of this garbage it all came to a head during VBS week at = which I had completely planned the Friday night closing program.&nbsp; I = had everything handed in to the sec. on Tuesday.&nbsp; Come Friday morning = during the last VBS session, the sec. tells me he just handed in the music = for that night.&nbsp; I told her the music wasn't changing...the kids knew = what was to be sung and I wasn't going to throw a curveball at them on the = last day.&nbsp; He didn't like that, even with most rational of = reasons.&nbsp; It was also about that time that he started micromanaging = EVERYTHING musical in the service to the point of seeing on the = secretary's desk my music submissions for the following Sunday, looking = over them, coming up to my office and asking me to "give him an idea <BR> It was all down hill from there.&nbsp; I quit a few months later.&nbsp; = The church, which used to have 4 handbell choirs, a 35 member adult choir, = and a fabulous children's choir....now has 5 people show up for choir on a = good day, no bell choirs (they haven't been touched since I left), and no = children's choir.&nbsp; Word got around quickly after I left what kind of = a leader he is, and thus no other musicians in the area would go out for = the job.&nbsp; But damn if he doesn't get to choose those hymns! ;-)<BR> <BR> I'm now at a fabulous church where I AM, once again, the musician and plan = EVERYTHING musical in the service (Episcopal now) and am never questioned = about it.&nbsp; Occasionally, one of the priests will request something = specific to go with his sermon, but those times are few and far = between.&nbsp; Most of the time, my selections already match the sermon = anyhow.<BR> <BR> I know this doesn't help solve your problem at all, but I thought perhaps = a story of how bad it can be might either give you comfort in what you = have, or help you to realize that you're never going to be able to make your program flourish with him overseeing = everything and not letting the MUSICIAN be the musician.<BR> <BR> Jeremy Rush<BR> Church of the Resurrection<BR> Myrtle Beach, SC</FONT></HTML>   --part1_107.f1d1431.29d004fb_boundary--  
(back) Subject: Re: hymns and the clergy From: <MyrtleBeachMusic@aol.com> Date: Sun, 24 Mar 2002 23:48:02 EST     --part1_90.234c82ce.29d00602_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 3/24/02 10:43:40 PM Eastern Standard Time, jlspeller@mindspring.com writes:     > Although "Llanfair" is a reasonably well-known hymn-tune, I > am a little puzzled as to why you would be using it at > Easter. As far as I was aware it is usually sung with the > text, "Hail the day that sees him rise", which is an > Ascension Day hymn. > > John Speller   I'm assuming he's probably in a Lutheran church as they have Llanfair set = to Christ the Lord is Risen Today.   --part1_90.234c82ce.29d00602_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">In a message dated 3/24/02 10:43:40 PM Eastern = Standard Time, jlspeller@mindspring.com writes:<BR> <BR> <BR> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Although = "Llanfair" is a reasonably well-known hymn-tune, I<BR> am a little puzzled as to why you would be using it at<BR> Easter.&nbsp; As far as I was aware it is usually sung with the<BR> text, "Hail the day that sees him rise", which is an<BR> Ascension Day hymn.<BR> <BR> John Speller</BLOCKQUOTE><BR> <BR> I'm assuming he's probably in a Lutheran church as they have Llanfair set = to Christ the Lord is Risen Today.</FONT></HTML>   --part1_90.234c82ce.29d00602_boundary--  
(back) Subject: Re: hymns and the clergy From: "Alan Freed" <afreed3036@yahoo.com> Date: Sun, 24 Mar 2002 21:01:09 -0800 (PST)   Mr. Jeremy Rush:   That's a most exc ellent testimonial.   I hope that it helps some folks, and that they print it out for good purposes.   Alan Freed Saint Luke's Church (ELCA) Manhattan   __________________________________________________ Do You Yahoo!? Yahoo! Movies - coverage of the 74th Academy Awards=AE http://movies.yahoo.com/  
(back) Subject: Re: hymns and the clergy From: <Chicaleee@aol.com> Date: Mon, 25 Mar 2002 00:47:30 EST     --part1_5b.2518c68e.29d013f2_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   I saw who hit me and told the police, but the preacher covered it up and = said I did it to myself, yeah, uh huh. Later the organ burned. Lee (I didn't = do it)   --part1_5b.2518c68e.29d013f2_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>I saw who hit me and = told the police, but the preacher covered it up and said I did it to = myself, yeah, uh huh. &nbsp;Later the organ burned. &nbsp;Lee (I didn't do = it)</FONT></HTML>   --part1_5b.2518c68e.29d013f2_boundary--  
(back) Subject: Re: Two Compton Organs From: "Bruce Miles" <bruce@gbmuk.fsnet.co.uk> Date: Mon, 25 Mar 2002 09:48:00 -0000   Hello all,   Compton built both straight and theatre organs, indeed many of them straddled the boundary between the two types.   His theatre organs were much nearer this middle ground than a typical Wurlitzer, and had a good 'solid' Diapason - not the stringy thing which W used, the strings were less stringy and the Tibias not quite as bland. The whole organ was less orchestral and rather more 'organ like'. The reeds = are usually excellent but very 'English' in character. I must say W did = produce the better Voxs, but Compton Tubas, Trumpets, Clarinets etc are second to none. Other distinctive features, metal Tibias - all-electric very prompt action - second touch on stop tabs and pistons - nice chunky stop tabs.   His straight organs were sometimes totally enclosed, often had horseshoe stop tab consoles and often featured very well excecuted extension. In the 30s he used 'push-on push-off' illuminated stop knobs - a fore-runner of = the modern electronic. He also introduced some of the first electronic instruments in the mid-thirties , first as add-ons to conventional pipe theatre organs (the Melotone) then as self- contained instruments (Electrone). The factory was destroyed during the war.   The 'Russell Holmes at the Solihull Compton' CD is excellent and a very typical Compton theatre sound - you can get it from http://www.leemingj.demon.co.uk/orderform.html Also for a straight organ Compton sound see http://www.theorganmag.com/New_CD_Reviews/new_cd_reviews_1100-4-downside.ht= m l   Regards   Bruce Miles     mail to:- bruce@gbmuk.fsnet.co.uk website:- http://www.gbmuk.fsnet.co.uk ----- Original Message ----- From: <Cremona502@cs.com> To: <pipechat@pipechat.org> Sent: Monday, March 25, 2002 12:23 AM Subject: Re: Two Compton Organs     > Colin, > Can you describe basically what distinguishes Comptom from the others. I've > never seen one of his instruments in any form, and wondered if you might > share some of their unique points. > > Thanky. > > > Bruce Cornely < Cremona502@cs.com > > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" > Visit Howling Acres and meet the Baskerbeagles: Duncan, Miles, Molly & Dewi > < http://members.tripod.com/Brucon502 + > http://prepaidlegal.com/go/brucecornely > >    
(back) Subject: Re: Two Compton Organs From: "stan" <harfo32@hotmail.com> Date: Mon, 25 Mar 2002 11:50:14 +0200   This is a multi-part message in MIME format.   ------=3D_NextPart_000_000F_01C1D3F3.39DE53F0 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Compton Organs were basically unit organs following on from Hope Jones. = =3D The firm started, I think in the late 1920's/early 1930's - but someone = =3D can probably come up with a more precise date. The cinema organs were =3D England's answer to the Mighty Wurlitzer - after all, why should the =3D Yanks make all the money! They usually had good reeds, flutes and =3D diapason sound, reflecting their ecclesisatical origins, but the Tibias = =3D lacked the creamy richness of the Wurlitzer. However, they were well =3D constructed and many still survive today. The best ones, such as the 5 =3D manual in the Odeon, Leicester Square often have a Wurlitzer Tibia =3D implant. In a good acoustic they can sound excellent - e.g. Southampton = =3D Guildhall (large 4 manual with two consoles, Straight concert with the =3D illuminated stop controls - like ordinary stop knobs, but push instead =3D of pull, i.e. reversibles and a stop tab console.) It ranges from 32' =3D flues and reeds to 5 rank mixtures, et al. It is an extension organ and, = =3D speaking from memory, must have about 40 ranks. They also made many =3D church instruments, large and small. Some used an existing organ as a =3D basis with the Compton extension organ grafted on - e.g. St Mary =3D Magdalene's Paddington. 3 manuals and about 70 stops, a Polyphone 32' =3D flue bass - a Compton invention I think with a single pipe =3D "compartmentalised" to give a quasi genuine - if that is not a =3D contradiction in terms - 32' sound. I think the bottom 5 notes were all = =3D the same. It has a "harmonics of 32'" which gives quite a realistic 32' = =3D reed effect when taken in conjunction with the 16' Posaune. Other =3D notable installations were mentioned in yesterday's thread - but not =3D mentioned were the Church in Edgware, Middlesex (not the parish church) = =3D where the Duke of Chandos employed Handel, and the organ is claimed - =3D somewhat dubiously, I think, to include original pipework from Handel's = =3D time. The firm departed this life sometime in the 60's, and their chief = =3D voicer, Johnny Degens with console maker,Ted Rippin set up shop in =3D Hammersmith. Maurice Forsyth Grant injected some capital into the =3D business, and they then became specialists in neo classic tracker action = =3D instruments, building some of the finest tracker installations in =3D Britain, including New College, Oxford, St. Mary's Priory, Fulham, the =3D Lyons Concert Hall, University of York and others. I was organist at the = =3D Eton College Mission Church, St Mary of Eton, Hackney Wick, London E.9 =3D which had a transitional instrument - electro pneumatic action with a =3D traditional 1890 Walker swell manual and a classically voiced Great with = =3D a pedal incorporating a bit of both. The cathedral like acoustics of the = =3D building enhanced the sound of this remarkable 2 manual instrument - =3D with the help of Michael Emanuel, then a schoolboy and now a marketing =3D director with Mr Gates at Microsoft and a technical genius, even at the = =3D age of 16, we did some overhaul work about 20 years ago, but having =3D lived in Greece for the past 20 years I haven't had a chance to revisit = =3D the organ. Not all installations were successful, particularly towards =3D the end of their existence. e.g. Southwark RC Cathedral is very =3D disappointing - apart from an overwhelmingly loud Tuba it lacks any guts = =3D whatsoever. They also made electronic organs - the Compton Electrone - =3D and a 4 manual (maybe 5?) was installed in the Royal Festival Hall =3D before the Harrison organ, designed by Ralph Downes - which caused so =3D much controversy at the time - was installed. Ralph said to me that a =3D good electronic was better than a bad pipe organ - this was when I was =3D complaining about having to practice on an electronic in the Royal =3D College of Music as a student. The best electronic organs in those days = =3D were made in England by Copemann Hart and Allen in the USA. Nowadays =3D they have improved beyond all recognition, and though I do not believe =3D they will ever replace the "real thing" completely, they are coming a =3D close second. I hope this helps. John Foss ----- Original Message -----=3D20 From: Cremona502@cs.com=3D20 To: pipechat@pipechat.org=3D20 Sent: Monday, March 25, 2002 2:23 AM Subject: Re: Two Compton Organs     Colin,=3D20 Can you describe basically what distinguishes Comptom from the others. = =3D I've never seen one of his instruments in any form, and wondered if =3D you might share some of their unique points.=3D20   Thanky.=3D20     Bruce Cornely < Cremona502@cs.com >=3D20 with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, = Bohawow!"=3D20 Visit Howling Acres and meet the Baskerbeagles: Duncan, Miles, Molly = =3D & Dewi=3D20 < http://members.tripod.com/Brucon502 + =3D http://prepaidlegal.com/go/brucecornely >=3D20   ------=3D_NextPart_000_000F_01C1D3F3.39DE53F0 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 6.00.2713.1100" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>Compton Organs were basically unit = =3D organs following=3D20 on from Hope Jones. The firm started, I think in the late 1920's/early =3D 1930's -=3D20 but someone can probably come up with a more precise date. The cinema =3D organs=3D20 were England's answer to the Mighty Wurlitzer - after all, why should =3D the Yanks=3D20 make all the money! They usually had good reeds, flutes&nbsp;and =3D diapason sound,=3D20 reflecting their ecclesisatical origins, but the Tibias lacked the =3D creamy=3D20 richness of the Wurlitzer. However, they were well constructed and many = =3D still=3D20 survive today. The best ones, such as the 5 manual in the Odeon, =3D Leicester=3D20 Square often have a Wurlitzer Tibia implant. In a good acoustic they can = =3D sound=3D20 excellent - e.g. Southampton Guildhall (large 4 manual with two =3D consoles,=3D20 Straight concert with the illuminated stop controls - like ordinary stop = =3D knobs,=3D20 but push instead of pull, i.e. reversibles and a stop tab console.) It =3D ranges=3D20 from 32' flues and reeds to 5 rank mixtures, et al. It is an extension =3D organ=3D20 and, speaking from memory, must have about 40 ranks. They also made many = =3D church=3D20 instruments, large and small. Some used an existing organ as a basis =3D with the=3D20 Compton extension organ grafted on - e.g. St Mary Magdalene's =3D Paddington. 3=3D20 manuals and about 70 stops, a Polyphone 32' flue bass - a Compton =3D invention I=3D20 think with a single pipe "compartmentalised" to give a quasi genuine - =3D if that=3D20 is not a contradiction in terms - 32' sound. I think the bottom 5 notes = =3D were all=3D20 the same. It has a "harmonics of 32'" which gives quite a realistic 32' = =3D reed=3D20 effect when taken in conjunction with the 16' Posaune. Other notable=3D20 installations were mentioned in yesterday's thread - but not mentioned =3D were the=3D20 Church in Edgware, Middlesex&nbsp;(not the parish church) where the Duke = =3D of=3D20 Chandos employed Handel, and the organ is claimed - somewhat dubiously, = =3D I think,=3D20 to include original pipework from Handel's time. The firm departed this = =3D life=3D20 sometime in the 60's, and their chief voicer, Johnny Degens with console = =3D   maker,Ted Rippin set up shop in Hammersmith. Maurice Forsyth Grant =3D injected some=3D20 capital into the business, and they then became specialists in neo =3D classic=3D20 tracker action instruments, building some of the finest tracker =3D installations in=3D20 Britain, including New College, Oxford, St. Mary's Priory, Fulham, the =3D Lyons=3D20 Concert Hall, University of York and others. I was organist at the Eton = =3D College=3D20 Mission Church, St Mary of Eton, Hackney Wick, London E.9 which had a=3D20 transitional instrument - electro pneumatic action with a=3D20 traditional&nbsp;1890&nbsp;Walker swell manual and a classically voiced =3D Great=3D20 with a pedal incorporating a bit of both.&nbsp;The cathedral like =3D acoustics of=3D20 the building enhanced the sound of this remarkable 2 manual </FONT><FONT = =3D   face=3D3DArial size=3D3D2>instrument - with the help of Michael Emanuel, = =3D then a=3D20 schoolboy and now a marketing director with Mr Gates at Microsoft and = a=3D20 technical genius, even at the age of 16, we did some overhaul work about = =3D 20=3D20 years ago, but having lived in Greece for the past 20 years I haven't =3D had a=3D20 chance to revisit the organ. Not all installations were successful, =3D particularly=3D20 towards the end of their existence.&nbsp;e.g. Southwark RC Cathedral is = =3D very=3D20 disappointing - apart from an overwhelmingly loud Tuba it lacks any guts = =3D   whatsoever. They also made electronic organs - the Compton Electrone - =3D and a 4=3D20 manual (maybe 5?) was installed in the Royal Festival Hall&nbsp;before =3D the=3D20 Harrison organ, designed by Ralph Downes&nbsp;- which caused so much =3D controversy=3D20 at the time - was installed. Ralph said to me that a good electronic was = =3D better=3D20 than a bad pipe organ - this was when I was complaining about having to = =3D practice=3D20 on an electronic in the Royal College of Music as a student. The best =3D electronic=3D20 organs in those days were made in England by Copemann Hart and Allen in = =3D the USA.=3D20 Nowadays they have improved beyond all recognition, and though I do not = =3D believe=3D20 they will ever replace the "real thing" completely, they are coming a =3D close=3D20 second. I hope this helps.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>John Foss</FONT></DIV> <BLOCKQUOTE=3D20 style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A title=3D3DCremona502@cs.com=3D20 href=3D3D"mailto:Cremona502@cs.com">Cremona502@cs.com</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A =3D title=3D3Dpipechat@pipechat.org=3D20 href=3D3D"mailto:pipechat@pipechat.org">pipechat@pipechat.org</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Monday, March 25, 2002 = =3D 2:23=3D20 AM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> Re: Two Compton =3D Organs</DIV> <DIV><BR></DIV><FONT face=3D3Darial,helvetica><FONT size=3D3D2>Colin, = =3D <BR>Can you=3D20 describe basically what distinguishes Comptom from the others.=3D20 &nbsp;&nbsp;I've never seen one of his instruments in any form, and =3D wondered=3D20 if you might share some of their unique points. <BR><BR>Thanky.=3D20 <BR><BR><BR>Bruce Cornely &lt; <A=3D20 href=3D3D"mailto:Cremona502@cs.com">Cremona502@cs.com</A> &gt;<I> =3D </I><BR>with the=3D20 Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR>Visit = =3D Howling=3D20 Acres <I>&nbsp;</I>and meet the Baskerbeagles: &nbsp;Duncan, Miles, =3D Molly=3D20 &amp; Dewi <BR>&lt; http://members.tripod.com/Brucon502 +=3D20 http://prepaidlegal.com/go/brucecornely &nbsp;&gt;</FONT>=3D20 </FONT></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_000F_01C1D3F3.39DE53F0--  
(back) Subject: Re: REMOVE From: "stan" <harfo32@hotmail.com> Date: Mon, 25 Mar 2002 11:55:35 +0200   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0045_01C1D3F3.F9210910 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   I have a weird message from Ron & Mandy saying Please unsubscribe. Who =3D are Ron & Mandy? Is this a joke or an error? April 1st is next week. ----- Original Message -----=3D20 From: Ron & Mandy=3D20 To: PipeChat=3D20 Sent: Monday, March 25, 2002 1:47 AM Subject: REMOVE     Please unsubscribe.   ------=3D_NextPart_000_0045_01C1D3F3.F9210910 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 6.00.2713.1100" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>I have a weird message from Ron &amp; = =3D Mandy saying=3D20 Please unsubscribe. Who are Ron &amp; Mandy? Is this a joke or an error? = =3D April=3D20 1st is next week.</FONT></DIV> <BLOCKQUOTE dir=3D3Dltr=3D20 style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A title=3D3Dronwest@spiderweb.com.au =3D href=3D3D"mailto:ronwest@spiderweb.com.au">Ron=3D20 &amp; Mandy</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A =3D title=3D3Dpipechat@pipechat.org=3D20 href=3D3D"mailto:pipechat@pipechat.org">PipeChat</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Monday, March 25, 2002 = =3D 1:47=3D20 AM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> REMOVE</DIV> <DIV><BR></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Please=3D20 unsubscribe.</FONT></DIV></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_0045_01C1D3F3.F9210910--